It's really interesting to see your progress and you've made a boat! And a city!
Your illustration is super cool, you've managed the perspective well, it's clear, there's a nice setting around, a holiday atmosphere, I really like the treatment of the water which works very well and the boat is nice.
Honestly, itâs cool ^^
The only thing that makes me wonder is the composition of your image. Your illustration looks very postcard-like, it's the scenery and the sea that are the subject. Whereas with your sketches, I had the impression that you wanted to draw attention to the boat. But I might be mistaken :) Did you want a postcard-type illustration or something else?
Well, glad you found it cool. The postcard effect is more of a consequence.
I went to Brittany, so sea, boat, harbor, and creperie... I sent a limited number of sketches (I did twice as many) so the ones accompanying the drawing are not the most relevant, because at one point I was on a "fishing" trip.
Regarding the perspective, afterwards, I found that my chimneys were poorly represented (for me, we shouldn't see them from above).
Here is my drawing! I didn't include the sketches in the previous course because I had a bit of trouble finding inspiration, so it took me several tries.
Here is my drawing, thank you in advance for your feedback :)
So, I'm bothered because on one hand the composition is cool, it's clean, clear, and neat.
On the other hand, there is a huge problem with perspective. That said, this could be a deliberate choice; we see this kind of perspective on board game layouts, for example.
But I don't think that was the intended effect.
I've attached a correction to show you the crux of the problem.
Overall, you have two different perspectives in your drawing. On one side, your ground, the little river, the bridge, the street lamps, and the benches are viewed from above.
On the other side, we have the hotel which we are looking at head-on, with the horizon line in front of us.
Conclusion: it's physically impossible.
So, I've made a correction to standardize by choosing one perspective or the other.
here is my drawing not finished because I plan to color it with a felt-tip pen which means directly that I will massacre it mercilessly, see you very soon!
It looks great, even in color your image reads well it's really neat (and +1 for the dragon ;p).
If I had to nitpick, I find that the foreground is in a weird perspective and the rocks look all soft (more like melted chocolate than sharp pebbles).
Otherwise, it's really neat ^^
Tu t'en sors bien avec les feutres Jojo !
Ăa rend super bien, mĂȘme Ă la couleur ton image se lit bien c'est vraiment chouette (et +1 pour le dragon ;p).
Si je devais pinailler, je trouve que le premier plan est dans une perspective bizarre et que les rochers on l'air tout mou (plus comme du chocolat fondu que comme des cailloux tranchants).
Hello! I need help with the sketches and I feel like I'm going to struggle with the city below .... if you have any advice on the orientation of the houses so that they aren't all in the direction of the vanishing points etc ... ^^" I know it must be a complicated drawing to start with but I really love the idea! xD PS: The horizon line is at the level of the great wall in the back in front of the castle.
I started tidying up trying to respect all the rules .... I will finish it but for this lesson I will do something else less complicated for me (plus I wanted the light to come from behind so there xD xD) .... Anyway, I will continue with the warmer one I think, the city below
Shoot, if I could have responded sooner, I could have corrected you on the composition (the huge gap between the castle and the village, and the top of the castle being cut off).
To answer your question about the village, as you might guess, if you want to orient the houses differently from each other, they need to have different vanishing points.
You still place them on the horizon line (that doesnât change), and you apply the new vanishing points created to some of your houses.
Thank you very much for the compliment! As for the emptiness, I actually plan to fill it with lots of houses to show that it's a big city! Ok, I will place a second vanishing point. However, just one question, for this drawing, for example, I would have liked the vanishing points to be further apart, but if that is the case, they go off my paper, what should I do in those cases?
PS: I will finish the drawing as best as I can and post it to get your opinion, thank you very much again ^^"
Well, it's clean, it's clear, it's well executed, well composed, and well constructed.
If I were to nitpick, it would be about the background, which is much less nicely done than the foreground. And also the mountain on the left that completely envelops the fir tree. I think if the mountain went down and "cut" behind the fir tree, it would work better.
Otherwise, it's really very pretty, well done âïž
Si je devais pinailler, ce serait sur l'arriÚre plan qui est beaucoup moins joliment fait que le premier plan. Et aussi la montagne à gauche qui englobe totalement le sapin. Je pense que si la montagne descendait et "coupait" derriÚre le sapin, ça fonctionnerait mieux.
Hello rakjah,
I tried to follow your advice, the mountains are more detailed but I'm having a lot of trouble with the terrain and shadows.
I also struggle with proportions. đ
It comes down to not much, I think. I tested on my side (without reference, we'll need to double-check with mountain photos ^^).
Basically, youâve marked the shadows on your mountain too heavily; they are too prominent. When something is in the distance, an "atmospheric perspective" applies to it. This means that its colors will be tinted by the atmosphere (therefore more bluish) and they will lose contrast.
So the shadows on your mountain cannot be as strong as those you have in the foreground.
And another thing: the shadows on your mountains also need to respect the light source youâve chosen. Here at the top right for the sun, I think ^^
Donc les ombres sur ta montagne ne peuvent pas ĂȘtre aussi fortes que celles que tu as sur ton premier plan.
Et seconde chose : il faut que les ombres de tes montagnes respectent aussi la source de lumiĂšre que tu as choisie. Ici en haut Ă droite pour le soleil je pense ^^
Hello,
Here is my first illustration. It's the first time since childhood that I've drawn without a model.
There are things I like and others I don't. I'm not too fond of the lines on the plains (grass). The gray values of the cloak don't work well, I think. Something is missing, but I can't figure out what at the moment. I wonder if the clouds and smoke wouldn't be better with a darker outline. But I'm afraid of ruining the illustration by trying :s
Otherwise, I'm really happy!!!
Firstly, the composition is cool, you managed the shadows and lights well, and it's very clean and neat.
But as you noted yourself, there are lots of little things to improve.
> the grass: it doesn't work because you've done something very regular. If it's organic, we avoid regularity. We create randomness. And the second rule: the further it is, the less detailed it is.
> the character in the foreground: there's a visual knot with his head. It almost exactly touches the branch next to it >> absolutely to avoid. To remedy this, I've reduced it, but you could simply move the branch or the head so that they overlap or clearly avoid each other.
> Still on the character, he obviously does not have the same light source as the rest of your image >> not logical, so I corrected that
> And regarding the folds, you did something that has no tension lines. Don't hesitate to take a sheet at home and simulate the position he's in to see the folds that are created ^^
> For the smoke, I would have made it lighter and with some values in it to give it a bit of volume (see my quick correction attached ^^)
But it's a very good job overall, with good image depth, it also tells a story. Really very nice đ
Honestly, it's cool. There's a nice depth in the image, the composition is clear, although I find it a pity that we are "enclosed" in the image (trees on the right and left and the branches that come back over the top and follow all around the format). I think you were trying to create a somewhat unsettling atmosphere, thatâs what I feel anyway when I look at your drawing. So, I suggest a small composition modification, especially regarding the trees, to enhance this aspect.
Iâll also mention that you can draw elements off-screen (I'm thinking of trees specifically). Here, it seems like thereâs just a row of trees neatly aligned as is sometimes the case on boulevards or avenues. Whereas the presence of the wolf, falcon, and other elements leads me to believe that itâs actually more like a forest.
If itâs a forest >> no symmetry, no geometry, it should be organic, it needs to be random.
Hello Rakja,
Thank you for your advice and your appreciation. So yes, I wanted to create something unsettling, but how to do it because they arrive in a clearing and the castle appears benevolent or not, it's up to each to decide. But if I had made a complete forest, which was my initial idea, I wouldn't have had space to fit it in; then I would have had to have them walking in the forest looking for their way. But it's true that my trees are too orderly, too much in perspective.
Have a great day everyone,
Regina
In this case, we are dealing with a pure composition problem. Once again, references are everything, don't hesitate to look for photos that can match what you'd like to achieve, they can inspire you ;p
I hadn't understood that they were entering a clearing, but rather that they were coming out of the forest (since there are no more trees behind the house).
So, something like this? I zoomed out and removed the branches that enclosed the sky above the house, to make it less associated with something frightening. And of course, I've added trees behind the house and in the distance to make it clear that they are arriving in a clearing ^^
Je n'avais pas du tout compris qu'ils entraient dans une clairiĂšre, mais plutĂŽt qu'ils sortaient de la forĂȘt (puisqu'il n'y a plus d'arbres derriĂšre la maison).
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31/12/2019
I'm going to start over (with a bit of colorđ)
Happy holidays, happy drawing to everyone
Je vais recommencer (avec un peu de couleurđ
Bonnes fĂȘtes, bons dessins Ă toutes et tous
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04/01/2020
It's really interesting to see your progress and you've made a boat! And a city!
Your illustration is super cool, you've managed the perspective well, it's clear, there's a nice setting around, a holiday atmosphere, I really like the treatment of the water which works very well and the boat is nice.
Honestly, itâs cool ^^
The only thing that makes me wonder is the composition of your image. Your illustration looks very postcard-like, it's the scenery and the sea that are the subject. Whereas with your sketches, I had the impression that you wanted to draw attention to the boat. But I might be mistaken :) Did you want a postcard-type illustration or something else?
C'est hyper intéressant de voir ton cheminement et tu as fait un bateau ! Et une ville !
Ton illu est super cool, t'as bien géré la perspective, c'est clair, on a un joli décor autour, une ambiance de vacances, j'aime beaucoup le traitement de l'eau qui marche trÚs bien et le bateau est chouette.
Franchement c'est cool ^^
La seule chose qui me questionne c'est la compo de ton image. Ton illu fait trÚs carte postale, c'est le décor et la mer le sujet. Alors que sur tes pochades j'avais l'impression que tu voulais attirer l'attention sur le bateau. Mais je peux me tromper :) Est-ce que tu voulais une illustration type carte postale ou faire autre chose ?
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04/01/2020
Well, glad you found it cool. The postcard effect is more of a consequence.
I went to Brittany, so sea, boat, harbor, and creperie... I sent a limited number of sketches (I did twice as many) so the ones accompanying the drawing are not the most relevant, because at one point I was on a "fishing" trip.
Regarding the perspective, afterwards, I found that my chimneys were poorly represented (for me, we shouldn't see them from above).
Bien, content que tu es trouvé cela cool. L'effet carte postale est plutÎt une conséquence.
J'Ă©tais parti Bretragne, donc mer, bateau, port, et crĂ©perie...j'ai envoyĂ© un nombre de pochades limitĂ© (j'ai fait le double) du coup celle qui accompagnent le dessin ne sont pas les plus pertinentes, car Ă un moment j'Ă©tais parti "pĂȘche".
Concernant la perspective à postériori j'ai trouvé mes cheminées mal représentées (pour moi, on ne devrait pas les voir de dessus)
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12/01/2020
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07/01/2020
Here is my drawing! I didn't include the sketches in the previous course because I had a bit of trouble finding inspiration, so it took me several tries.
Here is my drawing, thank you in advance for your feedback :)
Voici mon dessin! Je n'ai pas mis les pochades dans le prĂ©cĂ©dent cours car j'ai eu un peu de mal Ă trouver lâinspiration, il m'a donc fallut de nombreux essais.
Voici donc mon dessin, merci d'avance pour votre retour :)
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12/01/2020
So, I'm bothered because on one hand the composition is cool, it's clean, clear, and neat.
On the other hand, there is a huge problem with perspective. That said, this could be a deliberate choice; we see this kind of perspective on board game layouts, for example.
But I don't think that was the intended effect.
I've attached a correction to show you the crux of the problem.
Overall, you have two different perspectives in your drawing. On one side, your ground, the little river, the bridge, the street lamps, and the benches are viewed from above.
On the other side, we have the hotel which we are looking at head-on, with the horizon line in front of us.
Conclusion: it's physically impossible.
So, I've made a correction to standardize by choosing one perspective or the other.
Alors je suis embĂȘtĂ© parce que d'un cĂŽtĂ© la compo est cool, c'est propre, clair et soignĂ©.
Et d'un autre cĂŽtĂ© il y a un Ă©norme problĂšme de perspective. Ceci dit ça peut ĂȘtre un parti pris, on voit ce genre de perspective sur des plateaux de jeux de sociĂ©tĂ© par exemple.
Mais je ne pense pas que c'était l'effet recherché.
Je t'ai joint une correction pour te montrer le fond du problĂšme.
Globalement tu as deux perspective différente dans ton dessin. D'un cÎté ton sol, la petite riviÚre, le pont, les lampadaires et les bancs sont sur un plan que l'on regarde d'en haut.
D'un autre cÎté on a l'hÎtel qu'on regarde frontalement, avec la ligne d'horizon en face de nous.
Bilan : c'est physiquement impossible.
Je t'ai donc fait une correction pour uniformiser en choisissant une perspective ou l'autre.
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11/01/2020
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12/01/2020
It looks great, even in color your image reads well it's really neat (and +1 for the dragon ;p).
If I had to nitpick, I find that the foreground is in a weird perspective and the rocks look all soft (more like melted chocolate than sharp pebbles).
Otherwise, it's really neat ^^
Ăa rend super bien, mĂȘme Ă la couleur ton image se lit bien c'est vraiment chouette (et +1 pour le dragon ;p).
Si je devais pinailler, je trouve que le premier plan est dans une perspective bizarre et que les rochers on l'air tout mou (plus comme du chocolat fondu que comme des cailloux tranchants).
Autrement c'est vraiment chouette ^^
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16/01/2020
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19/01/2020
Shoot, if I could have responded sooner, I could have corrected you on the composition (the huge gap between the castle and the village, and the top of the castle being cut off).
To answer your question about the village, as you might guess, if you want to orient the houses differently from each other, they need to have different vanishing points.
You still place them on the horizon line (that doesnât change), and you apply the new vanishing points created to some of your houses.
By the way, the castle looks super cool :D
Mince si j'avais pu répondre avant j'aurais pu te reprendre sur la compo (l'énorme vide entre le chùteau et le village et le chùteau coupé en haut).
Pour répondre à ta question concernant le village, comme tu t'en doutes, si tu veux orienter les maisons différemment les unes des autres, il va falloir qu'elles aient des points de fuite différents.
Tu les places toujours sur la ligne d'horizon (ça, ça ne change pas), et tu apliques les nouveaux points de fuite créés à certaines de tes maisons.
Le chùteau est super stylé soit dit en passant :D
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20/01/2020
PS: I will finish the drawing as best as I can and post it to get your opinion, thank you very much again ^^"
PS : Je vais finir le dessin du mieux que je peux et je le poste afin d'avoir ton avis merci beaucoup encore ^^"
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20/01/2020
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18/02/2020
Can you give me your opinion on this first drawing?
Thank you đ
pouvez vous me donner votre avis sur ce premier dessin ?
merciđ
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23/02/2020
Well, it's clean, it's clear, it's well executed, well composed, and well constructed.
If I were to nitpick, it would be about the background, which is much less nicely done than the foreground. And also the mountain on the left that completely envelops the fir tree. I think if the mountain went down and "cut" behind the fir tree, it would work better.
Otherwise, it's really very pretty, well done âïž
Eh bien c'est propre, c'est clair, c'est bien exécuté, bien composé et bien construit.
Si je devais pinailler, ce serait sur l'arriÚre plan qui est beaucoup moins joliment fait que le premier plan. Et aussi la montagne à gauche qui englobe totalement le sapin. Je pense que si la montagne descendait et "coupait" derriÚre le sapin, ça fonctionnerait mieux.
Autrement c'est vraiment trĂšs joli, bravo âïž
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24/02/2020
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25/02/2020
I tried to follow your advice, the mountains are more detailed but I'm having a lot of trouble with the terrain and shadows.
I also struggle with proportions. đ
j'ai essayé de suivre ton conseil ,les montagnes sont plus travaillées mais j'ai beaucoup de problÚmes avec les reliefs et les ombres.
j'ai Ă©galement du mal avec les proportions.đ
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01/03/2020
It comes down to not much, I think. I tested on my side (without reference, we'll need to double-check with mountain photos ^^).
Basically, youâve marked the shadows on your mountain too heavily; they are too prominent. When something is in the distance, an "atmospheric perspective" applies to it. This means that its colors will be tinted by the atmosphere (therefore more bluish) and they will lose contrast.
So the shadows on your mountain cannot be as strong as those you have in the foreground.
And another thing: the shadows on your mountains also need to respect the light source youâve chosen. Here at the top right for the sun, I think ^^
Ca se joue à pas grand-chose je pense, j'ai testé de mon cÎté (sans référence, il faudra vérifier avec des photos de montagnes pour vérifier ^^).
En gros, tu as trop marquĂ© les ombres sur ta montagnes, c'est trop prĂ©sent. Quand quelque chose est situĂ© dans le lointain, on a une "perspective atmosphĂ©rique" qui s'applique dessus. Ca signifie que ses couleurs vont ĂȘtre teintĂ©es par l'atmosphĂšre (donc + bleutĂ©es) et elles vont perdre en contraste.
Donc les ombres sur ta montagne ne peuvent pas ĂȘtre aussi fortes que celles que tu as sur ton premier plan.
Et seconde chose : il faut que les ombres de tes montagnes respectent aussi la source de lumiĂšre que tu as choisie. Ici en haut Ă droite pour le soleil je pense ^^
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01/03/2020
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18/02/2020
Here is my first illustration. It's the first time since childhood that I've drawn without a model.
There are things I like and others I don't. I'm not too fond of the lines on the plains (grass). The gray values of the cloak don't work well, I think. Something is missing, but I can't figure out what at the moment. I wonder if the clouds and smoke wouldn't be better with a darker outline. But I'm afraid of ruining the illustration by trying :s
Otherwise, I'm really happy!!!
VoilĂ ma premiĂšre illustration. C'est la premiĂšre fois deluis l'enfance que je dessine sans modĂšle.
Il y a des choses qui me plaisent et d'autres moins. Les traits sur les plaines (herbes) me plaisent pas trop. Les valeurs de gris de la cape fonctionnent mal je trouve. Il manque quelque chose mais je ne trouve pas quoi pour le moment. Je me drmande si les nuages et la fumée ne seraient pas mieux avec un contour plus foncé. Mais je peur de ruiner l'illustration en essayant :s
Sinon je suis vraiment contente !!!
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23/02/2020
Firstly, the composition is cool, you managed the shadows and lights well, and it's very clean and neat.
But as you noted yourself, there are lots of little things to improve.
> the grass: it doesn't work because you've done something very regular. If it's organic, we avoid regularity. We create randomness. And the second rule: the further it is, the less detailed it is.
> the character in the foreground: there's a visual knot with his head. It almost exactly touches the branch next to it >> absolutely to avoid. To remedy this, I've reduced it, but you could simply move the branch or the head so that they overlap or clearly avoid each other.
> Still on the character, he obviously does not have the same light source as the rest of your image >> not logical, so I corrected that
> And regarding the folds, you did something that has no tension lines. Don't hesitate to take a sheet at home and simulate the position he's in to see the folds that are created ^^
> For the smoke, I would have made it lighter and with some values in it to give it a bit of volume (see my quick correction attached ^^)
But it's a very good job overall, with good image depth, it also tells a story. Really very nice đ
PremiÚrement, la compo est cool, tu as bien géré les ombres et lumiÚres et c'est trÚs propre et soigné.
Mais comme tu l'as toi-mĂȘme notĂ©, il y a pleins de petites choses Ă amĂ©liorer.
> l'herbe : ça ne fonctionne pas parce que tu as fait quelque chose d'hyper régulier. Si c'est organique, on évite la régularité. On crée de l'aléatoire. Et deuxiÚme rÚgle : plus c'est loin, moins c'est détaillé.
> le personnage au premier plan : il y a un noeud graphique avec sa tĂȘte. Elle touche presque pile la branche juste Ă cĂŽtĂ© >> Ă Ă©viter absolument. Pour palier à ça je l'ai rĂ©duit, mais tu pourrais simplement dĂ©caler la branche ou la tĂȘte pour qu'elles se chevauchent ou s'Ă©vitent franchement.
> Toujours sur le perso, il n'a visiblement pas la mĂȘme source de lumiĂšre que le reste de ton image >> pas logique, du coup j'ai corrigĂ© ça
> Et concernant les plis, tu as fait quelque chose qui n'a aucne ligne de tension. N'hésite pas à prendre un drap chez toi et à simuler la position qu'il a pour voir les plis qui se créent ^^
> Pour la fumée, je l'aurais fait plus claire et avec quelques valeurs dedans pour lui donner un peu de volume (cf ma correction rapide ci-jointe ^^)
Mais c'est un trĂšs bon travail en tout, avec une bonne profondeur d'image, ça raconte une histoire en plus. Vraiment trĂšs chouette đ
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11/03/2020
Here is my drawing, inspired by Grégoire as well as the forest tutorial, obviously with many imperfections, mistakes in proportions, folds on the cloak, and many others. I made several drawings, for example, the sea.
Have a good day everyone,
Regards,
RĂ©gina
voilĂ j'envoie mon mon dessin, inspirĂ© par grĂ©goire ainsi que le tuto de la forĂȘt, evidemment beaucoup d'imperfection d'erreurs les proporpotions les plis sur la cape et bien
d'autres, j'en fait plusieurs(dessins) la mer par exemple.
bonne journée a vous tous
salutations
régina
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15/03/2020
Honestly, it's cool. There's a nice depth in the image, the composition is clear, although I find it a pity that we are "enclosed" in the image (trees on the right and left and the branches that come back over the top and follow all around the format). I think you were trying to create a somewhat unsettling atmosphere, thatâs what I feel anyway when I look at your drawing. So, I suggest a small composition modification, especially regarding the trees, to enhance this aspect.
Iâll also mention that you can draw elements off-screen (I'm thinking of trees specifically). Here, it seems like thereâs just a row of trees neatly aligned as is sometimes the case on boulevards or avenues. Whereas the presence of the wolf, falcon, and other elements leads me to believe that itâs actually more like a forest.
If itâs a forest >> no symmetry, no geometry, it should be organic, it needs to be random.
Franchement c'est cool. Y a une belle profondeur dans l'image, la compo est claire, bien que je trouve dommage qu'on soit "enfermé" dans l'image (arbres à droite et à gauche et les branches qui reviennent au-dessus et suivent bien tout le tour du format). Je pense que tu cherchais à faire une ambiance un peu angoissante, c'est ce que je ressens en tout cas devant ton dessin. Du coup je te propose une petite modification de compo, en particulier au niveau des arbres, pour accentuer cet aspect-là .
J'en profite pour dire que tu peux dessiner des Ă©lĂ©ments hors champs (je pense Ă des arbres justement). Ici, on a l'impression qu'il y a juste une rangĂ©e d'arbres bien alignĂ©s comme c'est parfois le cas sur des boulevards ou des avenues. Alors que la prĂ©sence du loup, du faucon et d'autres Ă©lĂ©ments m'amĂšnent Ă penser qu'il s'agit en fait plutĂŽt d'une forĂȘt.
Si c'est une forĂȘt >> pas de symĂ©trie, pas de gĂ©omĂ©trie, on est sur de l'organique, ça doit ĂȘtre alĂ©atoire.
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17/03/2020
Thank you for your advice and your appreciation. So yes, I wanted to create something unsettling, but how to do it because they arrive in a clearing and the castle appears benevolent or not, it's up to each to decide. But if I had made a complete forest, which was my initial idea, I wouldn't have had space to fit it in; then I would have had to have them walking in the forest looking for their way. But it's true that my trees are too orderly, too much in perspective.
Have a great day everyone,
Regina
merci pour tes conselils et ton apprĂ©ciation , alors c'est vrai je voulais faire quelque chose d'angoissant mais comment faire parce qu'ils arrivent dans un clairiĂšre et le chĂąteau leur apparĂąit bienveillant ou pas a chacun de choisir, mais si je faisais une forĂȘt complĂšte qui Ă©tait mon idĂ©e de dĂ©part je n'avais plus de place pour le caser alors j'aurai dĂ» les faire marcher dans la forĂȘt cherchant leur chemin. mais c'est vrai que mes arbres sont trop bien rangĂ©s trop en pers.
bonne journée a vous tous
régina
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Nombre de sujet(s) : 3
Nombre de réponse(s) : 2508
22/03/2020
In this case, we are dealing with a pure composition problem. Once again, references are everything, don't hesitate to look for photos that can match what you'd like to achieve, they can inspire you ;p
I hadn't understood that they were entering a clearing, but rather that they were coming out of the forest (since there are no more trees behind the house).
So, something like this? I zoomed out and removed the branches that enclosed the sky above the house, to make it less associated with something frightening. And of course, I've added trees behind the house and in the distance to make it clear that they are arriving in a clearing ^^
Dans ce cas, on est sur un pur problÚme de composition. Encore une fois, les référence c'est la vie, n'hésite pas à chercher des photos qui peuvent correspondre à ce que tu voudrais faire, ça peut t'inspirer ;p
Je n'avais pas du tout compris qu'ils entraient dans une clairiĂšre, mais plutĂŽt qu'ils sortaient de la forĂȘt (puisqu'il n'y a plus d'arbres derriĂšre la maison).
Du coup quelque chose de ce genre ? J'ai dézoomé et retiré les branches qui refermaient le ciel au-dessus de la maison, pour qu'elle soit moins associé à quelque chose d'angoissant. Et bien sûr, j'ai rajouté les arbres derriÚre la maison et dans le lointain pour faire comprendre qu'ils arrivent dans une clairiÚre ^^
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